http://www.bdtd.uerj.br/handle/1/3642 Sat, 12 Sep 2026 16:41:37 GMT 2026-09-12T16:41:37Z http://www.bdtd.uerj.br/handle/1/26146 Título: Desnudando as zonas d’O Rio: o retrato das prostitutas no periódico erótico-satírico O Rio-Nú (1898-1916) Autor: Elias, Anick Silva Primeiro orientador: Mendes, Leonardo Pinto Abstract: Between 1898 and 1916, the newspaper O Rio-Nú circulated in Rio de Janeiro as an erotic-satirical periodical aimed at a predominantly male readership. Through various textual genres, it portrayed aspects of the city’s bohemian life, with particular emphasis on the experiences of prostitutes, courtesans, and cocottes in Carioca nightlife. This dissertation analyzes representations of these public women in the newspaper, considering both the historical context of its production and the cross-referencing of mentions and narratives that can form biographical data and profiles beyond the stereotypes traditionally associated with prostitution. The main objective is to investigate alternative interpretations of these female figures, moving away from the recurrent interpretive framework marked by victimization, suffering, sadness, and moral redemption, often crystallized in canonical literary narratives. To this end, the research adopts a historical-documentary and interpretive methodology, based on research conducted in the National Library’s Digital Newspaper Library, studies of the period’s so-called “forbidden language,” and dialogue with theoretical references concerning the Carioca Belle Époque and women’s lives in the early twentieth century, aiming at a historically grounded and critical interpretation of these representations Instituição: Universidade do Estado do Rio de Janeiro Tipo do documento: Dissertação Wed, 17 Jun 2026 00:00:00 GMT http://www.bdtd.uerj.br/handle/1/26146 2026-06-17T00:00:00Z http://www.bdtd.uerj.br/handle/1/26101 Título: Um clássico de que eu nunca ouvi falar: Lygia Bojunga no cenário da literatura brasileira Autor: Santana, Elisa da Silva Primeiro orientador: Perim, Regina Silva Michelli Abstract: This research investigates the production and circulation processes of Brazilian children's and youth literature (CYAL), starting from an apparently simple question: the factors that limit readers' access to the work of a renowned author like Lygia Bojunga. The study is structured in three main moments. Firstly, it constructs a theoretical and historical basis, tracing the relationship between literature and the school institution and analyzing the consolidation of CYAL in Brazil. Next, it deepens the constitutive tension of the field, which oscillates between artistic autonomy and pedagogical and market pressures. Finally, it presents a case study of Lygia Bojunga's trajectory, analyzing her as an exemplar of the pursuit of autonomy. The chapter establishes a counterpoint between the pragmatic project of Monteiro Lobato and the aesthetic project of Bojunga, focusing on the decisive act of founding her own publishing house, Casa Lygia Bojunga, as a strategy of resistance and creative control. The analysis concentrates on the editorial materialities of her work, such as graphic design and illustration. The methodology is based on bibliographic research and qualitative analysis. The theoretical framework articulates, mainly, Bourdieu (1996; 2004) and CYAL specialists, such as Maria do Rosário Mortatti (2001), Regina Zilberman (1987; 2012), Marisa Lajolo (1982; 1987), Edmir Perrotti (1986), Castrillón (2024) among other authors. We believe that this study can enrich both specific research on CYAL and also present a perspective on the editorial field, contributing to the development of quality productions Instituição: Universidade do Estado do Rio de Janeiro Tipo do documento: Dissertação Tue, 30 Sep 2025 00:00:00 GMT http://www.bdtd.uerj.br/handle/1/26101 2025-09-30T00:00:00Z http://www.bdtd.uerj.br/handle/1/26099 Título: A cypher “Favela Vive”: o caráter contracolonial do rep do ADL enquanto produtor de contrapúblicos que manifestam reexistências e escrevivências que criam realidades outras Autor: Aguiar Junior, Roberto Teixeira de Primeiro orientador: Josiowicz, Alejandra Judith Abstract: Les rappeurs Lord et DK47 composent, avec les producteurs Thomaz “TG” Garcia et Índio, l’ADL, acronyme qui signifie “au-delà de la folie”, qui manifeste déjà en son nom le mode de vie. Le groupe, originaire de Teresópolis (Rio de Janeiro), a comme une de ses créations le cypher “Favela Vive”. Au Brésil, le cypher est conçu comme un genre musical qui a pour prémisse la réunion de lettres inédites, qui partagent généralement un thème commun. Dans “Favela Vive” serait la réalité de/dans la favela. Les favelas de Rio de Janeiro, depuis leur genèse, sont représentées par les grands médias comme le lieu de tout ce qui est négatif dans la société, comme la pauvreté, l’insalubrité et le crime (Valladares, 2005; Zaluar; Alvito, 2006), surtout parce que la majorité de la population qui y réside est composée de personnes noires (Meirelles; Athayde, 2014). À partir de discours racistes et préconçus, les grands médias naturalisent toute sorte de violence contre les populations de ces territoires, stigmatisées précisément par les actions médiatiques. En se positionnant contrairement à de tels discours, l’ADL, manifestant les voix des bidonvilles au moyen de son rep, dénonce le racisme des grands médias et de l’État qui les soutient. Ils prennent ainsi une position publique sur des thèmes émergents, se positionnant sur les structures sociales et économiques instituées, exerçant ainsi une participation politique (Gonçalves, 2017), y compris en s’insurgeant contre le discours médiatique, pratiquement seul dans les grandes arènes publiques. Ceci dit, ce travail cherche à étudier comment la musique rep construit d’autres réalités par opposition aux médias. Ainsi, se manifeste une pensée présente chez les peuples contre-colonisateurs, c’est-à-dire, qui mobilisent des symboles, des significations et des modes d’existence dans des territoires vilipendés — comme les favelas — en résistant et en luttant (Bispo dos Santos, 2015). Donc, je soutiens que le rep de l’ADL produit des contrepublics (Fraser, 1990), car dans ces arènes publiques apparaissent des groupes sociaux subalternes qui cherchent à élargir l’espace discursif en réponse aux exclusions et aux marginalisations au sein des publics dominants. Le rep se manifeste, ainsi, comme une forme d’expression culturelle et une agence mobilisatrice de l’alphabétisation noire pour l’insurrection, comme on en trouve dans les littératures de réexistence (Souza, 2009). Pari passu, il y a la manifestation des escrevivências (Evaristo, 2020), car le rep permet l’auto-inscription de/du favelada/do dans le monde, en déformant les stéréotypes et les préjugés, et en permettant la création de nouveaux univers symboliques et formes d’existence, concevoir l’écriture et la vie. Mon objectif est donc de rechercher ce que le cypher Favela Vive 5 mobilise discursivement à travers son récit, qui cherche à ressignifier ce qu’on entend par (i) territoire habitable et digne de respect, (ii) habitants/es de ces territoires, (iv) par l’utilisation de plateformes numériques. Je me fixe, pour autant, dans une perspective cartographique (Passos; Kastrup; Escóssia, 2015) dans l’analyse du discours, en m’alignant sur la cartographie comme recherche-intervention (Deusdará; Rocha, 2021), permettant ma symbiose avec l’objet recherché - le manifestant, simultanément, (ma) pensée anti-coloniale, car mon écriture, ainsi que le rep, est un acte de résistance et de lutte pour la défense des bidonvilles (Bispo dos Santos, 2015; 2023) Instituição: Universidade do Estado do Rio de Janeiro Tipo do documento: Dissertação Mon, 31 Mar 2025 00:00:00 GMT http://www.bdtd.uerj.br/handle/1/26099 2025-03-31T00:00:00Z http://www.bdtd.uerj.br/handle/1/26097 Título: A potência do negativo no teatro de Edward Albee: um estudo sobre The American Dream (1961) e The Sandbox (1960) Autor: Freitas, Flavia Bandeira de Primeiro orientador: Cianconi, Vanessa Abstract: This thesis investigates the power of the negative in Edward Albee’s plays, based on an analysis of The American Dream (1961) and The Sandbox (1960), focusing on the aesthetic form and, in particular, on the linguistic material. The study is based on the hypothesis that these works mobilize the category of the negative through formal procedures that destabilize meaning, such as discontinuities and paratactic structures. The research adopts as its theoretical framework the contributions of Wolfgang Iser, especially regarding the lacunar constitution of the literary text and the notion of negativity as resistance of the aesthetic object, and also Theodor W. Adorno, with regard to aesthetic form as a counterpoint to the empirical world and as an immanent critique. Methodologically, a detailed textual analysis of the plays is conducted, linking the description of their formal mechanisms to theoretical reflection. It is observed that Albee’s dramatic language is organized through repetitions, clichés, non sequiturs, and ruptures in discursive logic, which hinders communication between the characters and prevents the meaning from being established. Furthermore, elements such as the de-psychologization of the characters, the flattening of the plot, the use of the tragicomic, and metatheatricality contribute to the production of a field of interpretive indeterminacy. It can be concluded that, in these works, language ceases to function as a transparent instrument of representation and instead acts as a force that generates tensions which expose social contradictions, particularly those linked to the imagery of the American Dream. By breaking the link between word and meaning, Albee highlights the fragility of the narratives that underpin ideals of success, progress, and social harmony. This interpretation takes on particular relevance today, as American society remains riven by intense symbolic disputes and a growing distrust of discourses that seek to shape the collective experience. This scenario is further linked to a broader crisis of capitalism, strained by both environmental urgency and the intensification of social inequalities, while it is evident that control over communication systems—such as social media and artificial intelligence—is dangerously concentrated in the hands of a limited number of economically powerful actors with ideologically driven agendas. Albee’s dramaturgy, therefore, retains its critical power by offering tools to reflect on contemporary forms of alienation, exclusion, and symbolic violence, as well as new forms of the rampant consumerism that sustains this social arrangement. Thus, the negative becomes the structuring principle of aesthetic form in Albee, functioning as a mode of resistance to instrumental rationality and as a critical operator that keeps the works open to multiple readings Instituição: Universidade do Estado do Rio de Janeiro Tipo do documento: Dissertação Wed, 08 Jul 2026 00:00:00 GMT http://www.bdtd.uerj.br/handle/1/26097 2026-07-08T00:00:00Z